INDUSTRIAL COOLNESS

I walked into the studio for the first time in a couple of weeks and took one look at the current project and felt boredom. It sat there like a blimp, saying nothing, doing nothing just looked at me with a blank canvas of nothingness. Everything about it grated, and I couldn’t work out why.. My intuition was saying to throw in reds and oranges, then came the question of how? My tutor Stephen came up with the brainwave to surround the figure in flames which was a great idea.. With delight I took up the white paint and started filling in where the flames are to go then had a another look.. The figures to the side were boring.. it was time to do the same to them,, except immerse them in flames and it looked good.. really good…

Yippee de doo dah!.. Cant wait to put in the oranges, reds and that amazing indigo colour of flame…. have also noticed that when the painting sits in a certain light, the areas where there are thick layers of paint, the white glows with almost deathly coolness.. reckon that might work against the hot oranges and reds.

It has an industrial look to it, reminds me in a way to tattoos I have seen lately.

  • Simplicity + ethereal + Dancer = the Unknown.

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About Ellis Burgess

A number of people have said that ‘it’ (whatever ‘it’ is) is in Ellis’s genes and to some extent they may be correct. Her grandmother painted and so did her mother. Marge Barley started painting when she was 9 years old and achieved some acclaim in New Zealand. In turn, her mother, Ellis’s Grandmother started much later in life more from compulsion than conscious desire. Ten years ago a well-intentioned friend shoved a paintbrush into Ellis’s clenched fist, forcefully moving her hand between paint pot and paper until it moved of its own volition in a frenetic frenzy attended by a torrent of tears born of bewilderment and frustration, unaware of the wild colour patterning the fury within. Ellis’s mother had passed away three years earlier from Non-Hodgkin’s Lymphoma. From these inauspicious beginnings Ellis began to paint, and for a short time attended classes at the Hamilton Society of Arts in New Zealand. Seven years ago, Ellis and her husband moved to the Gold Coast where she met Stephen Buntrock of the Gold Coast Art School. With his encouragement, painting became more than just something to do. It became a passion. Another passion is dance. Ellis loves the musical synergy of movement, the human form working with rhythm mood and emotion, sensing the freedom as the dancer soars across the floor with effortless ease. Like a lot of little girls, she was sent off to ballet in a somewhat desperate attempt by her grandfather to stop her stomping around the house. Eleven years later Ellis was selected to dance with NZ Ballet Company in a season of the Nutcracker. Did Ellis stop stomping? No. Ballet was to be her life; that was until she met the man of her dreams. Never the less, ballet has featured in much of her adult life by way of teaching and outlets of involvement. Ellis quickly discovered another outlet was painting. She spent a long time pondering on the skill set required to achieve her vision; how to portray the artistry of movement, the musicality and rhythm of dance, and the genius of the human form on canvas. Attempting different techniques, she learnt she is not an illustrator, but a painter who gravitated towards free movement. In her quieter moments Ellis often wonders what her mother would say if she were still here, left only with her paintings languishing against the wall. As an apprentice in the art of painting Ellis hopes the path ahead will be clear, perhaps meander elegantly at her will. Maybe it will broaden out to a huge piazza where she may sit for a long while, then later choose the many paths that transverse the piazza or continue again down the main road.

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